The last and final release from Ildjarn (Norway), distorted and minimal, feral Black Metal. This is all the early stuff... demos, different mixes and unreleased material from 92 onwards but check the Encyclopaedia Metallum for indepth info.

HERE (225MB)

4 years in the making! Includes new tracks by Bastard Noise, Amps for Christ, Unicorn, Hierophant, Antennacle, BN/K2 and previously released tracks by Sleestak.

If you want your shit to smell sweeter than most, go check out 200mg Records now! 100% D.I.Y.

DISC 1 HERE

DISCS 2 & 3 HERE

Legendary N.Y.C Hip-Hop radio show on WKCR 89.9FM 1990 to 1998, also made infamous in the Zoo York Mixtape vid...

1. Large Professor and OC
2. Nasty Nas and Six Nine Pt. 1
3. Nasty Nas and Six Nine Pt. 2
4. Das EFX
5. Big L
6. UMCs Pt. 1
7. UMCs Pt. 2
8. Souls of Mischief and Kurious
9. Q-Tip and Mad Skillz (Skillz)
10. Method Man and Ghostface
11. Akinyele
12. Black Moon and Smif N Wessun
13. Prince Poetry ( of Organized Konfusion)
14. MC Serch and OC
15. Mobb Deep
16. Brand Nubian
17. Organized Konfusion
18. Lord Finesse
19. Mad Skillz (SKillz)
20. Mad Skillz (Skillz) Pt. 2
21. Scientifik (R.I.P)
22. Craig G
23. Common Sense (Common)

HERE

Order From Chaos was Pete Helmkamp's band prior to the mighty Angelcorpse, and their style was raw death metal with lots of tempo changes and Helmkamp's token snarl. Some of the longer tracks like "War and Pain" and "Tenebrae" bring in a few subtly melodic/dissonant chords and lots of chugging midpaced breaks that can get really heavy, but there's plenty of speed as well as a lot of experimental sort of elements (large portions of noise textures and vocal effects in "Labyrinthine Whispers", strange piano and some spoken vocals in "Webs of Perdition", etc.). The recording is of course dated and certainly rugged, but the thick texture of the guitar tone is fucking awesome for what they're were doing.

HERE

Last EP of rawest Japanese Black Metal band who were active from 2002 to 2006, which was recorded in early 2004. Lo-fi production, no tight playing, just blasts of noise, screams of anguish, destructive distortion!

1 Unsilent Hate Anthems [3:52]
2 Rebellions Black [2:57]
3 Vomit Upon the Burning Heaven / Black Cum Suffocation [5:20]

HERE

XEXYZ (Rev of Tjolgtjar/Enbilulugugal)... Black Metal with borrowed samples from old Nintendo games (8-bit era, to be precise).

HERE

(way better than the studio recorded material)

HERE

Not as hard as it looks, still a proto-metal classic albeit with acoustic and cheese thrown in. Great album cover too by Frank Frazetta (click to enlarge?)

HERE

Probably the band that first produced the sense of wrist energy that later propelled bands such as Mayhem to the forefront with their emergent attack of rhythmic genesis and recursion, these musicians utilize the high-speed shred of fast strummed chords to produce a fluid motion against which the counterpoint of drum rhythm and phrase transition creates a jarring but lucid transferral of energy to a different degree of power. Sawing melodic patterns create ambient classical music from their accumulation of tension from interjection of black metal-style chaotic patterns within dominant patterns reflected in an overall stream of tonal relationships that builds the foundation for each context in the meta-context of the overall contrast of dominant riff to song structure as an entirety. Brilliantly lucid, overflowing energetic lead guitar spills through harmonic space in a silvery powerburst of articulations in chaotic modulation that approaches a post-scalar method of understanding note relationships and presages the atonal developments in death metal shared by Morbid Angel and Suffocation. No praise is too high for this band - they were relentless innovators who pioneered the future of black metal rhythm and death metal structure while emphasizing the underlying compositional differences between metal music and the more rock-based aesthetic alternatives in its history. Shouted vocals approximate a more enunciative version of the speed metal style and keep a link to the cruising bass and blasting percussion of the rhythm section - A.N.U.S.

HERE

At first glance, New York-born composer Rhys Chatham might have seemed unlikely to alter the DNA of rock. A classically trained musician, Chatham was piano tuner to Glenn Gould and La Monte Young, student of Young and Morton Subotnick, protégée of Tony Conrad, and in 1971, while still in his teens, founder of the highly influential experimental music program at the Kitchen in lower Manhattan. Nevertheless, it was Rhys Chatham who first applied multiple electric guitars to the extended-duration, overtone-drenched minimalism of the 1960s. This amalgamation -- of the intellectual experimentalism and textural sophistication of the avant-garde with the rhythmic brashness and visceral punch of punk rock -- produced a raucous, ecstatic new type of urban music that energized the downtown New York scene of the late 1970s and early 1980s, a music whose influence can be heard in the subsequent work of the many luminaries who participated in Chatham's ensembles, including Glenn Branca and members of Sonic Youth, Mars, Band of Susans and Swans.
A comprehensive 3-disc retrospective, An Angel Moves Too Fast to See includes all of Chatham's major "minimal" pieces, ranging from the thunderous "Two Gongs" (1971) and the No-Wave tumult of "Guitar Trio" (1977) to the brass-based "Massacre on MacDougal Street" (1982) and the epic, previously unreleased "An Angel Moves Too Fast to See" (1989), scored for an orchestra of 100 electric guitars.

Disc One: HERE
Two Gongs (1971)
Disc Two: HERE
Die Donnergötter (1985)
Waterloo, No. 2 (1986)
Drastic Classicism (1982)
Guitar Trio (1977)
Massacre on MacDougal Street (1982)
Disc Three: HERE
An Angel Moves Too Fast To See (1989)